Movie Review: Can Orlando Bloom “Make Weight” for his Comeback Fight? “The Cut”

Posted on September 16, 2025 by Roger Moore

Just when you think there’s nothing new that can be done with “The Big Fight” picture, “The Cut” comes along and finds all its drama in the preliminaries.

The latest film from the director of “Anthropoid” is a fascinating exercise in reinvention and minimalism. It’s about boxing, and there’s a fight in the brief opening scene and some sparring sessions are featured. But this movie set against that deadly, gladiatorial and CTE-inducing sport is about something almost as hellish as getting your brains beaten in by an opponent in the ring.

Almost the entire picture is about a washed-up fighter struggling to “make weight” so that he fight the Light Middleweight (or Super Welterweight) champ and change his destiny. It’s just a few days in Vegas, in a gym or a hotel room or toilet — sweating, extreme dieting, pill-popping and inducing vomiting — trying to drop almost thirty pounds in under a week so that he’ll be allowed the shot at that “comeback.”

Orlando Bloom plays our unnamed Northern Irish boxer. He had a bit of a breakdown in the ring ten years before, “prematurely” ending his career. Now he and his corner-woman Caitlyn (Caitriona Balfe) run a gym, teaching boxing to little girls and boys and making a life together.

But the leading contender just got himself messed up in a stunt-brawl with a Youtube boxer. With a huge fight pre-sold and set for the following week in Vegas, the promoter (Gary Beadle) is desperate. But it was the Irish boxer who called him, not the other way around.

“People like ‘a comeback story,'” Donny the promoter shrugs. Making the cut-off weight to qualify for the fight is “just a formality,” the fighter and his trainer-partner are assured. Yes, the fighter’s in shape. But he’s got a middle-aged spread, or just a hint of one. And he weighs over 180 pounds.

The cut-off for light middleweight? One hundred and fifty-four pounds.

“Just a formality” or not, Caitlyn pitches in, and they bring in a nutritionist and an extra trainer (Ed Kear) once they land in Vegas. But eating a couple of bits of carrot and an aspargus stalk or three and a severely limited diet of “fat, protein and water” isn’t going to drop almost 30 pounds in six days.

The promoter tells them they need The Boz. But that extreme step, they’re warned, means “TOTAL commitment.” Because this guy (John Turturro) is unscrupulous, heartless and maybe a tad mad.

“Your team, their problem is they CARE about you too much,” Boz purrs to them when they meet.

The Boz? He doesn’t give a you-know-what about their fighter’s health or even his life. The boxer’s haunted past, flashbacks to a childhood in Northern Ireland where mum (Clare Dunne, excellent) was a sex worker and “The Troubles” were ongoing?

Your past, Boz hisses to him, “is the extra weight” he has to lose.

“The Cut” doesn’t hit its stride until it’s just Turturro and Bloom, with Boz client and Boz True Believer Lupe (Mohammed Mansaray) along for extra motivation as a more deranged “make weight” partner in a hotel room, in the gym, in the sauna and in the tub urging himself, Boz and the Boxer into the realm of the extreme.

The Boxer’s issues aren’t cured by this intense environment as he hallucinates more and more memories of the trauma of his youth. The partner/trainer’s back-story — “The gym is what’s kept me clean!” — is under-developed, the opponent is barely mentioned.

What matters here is the body horror show that Boz has in store for them and us, and Turturro makes damned sure he delivers.

He is uncompromising and utterly callous about long-term effects, the health of a fighter or whether he might put him in the hospital. He is sexist. “We don’t have TIME for hysteria, sweetie. Your soft touch doesn’t apply.”

He is a motivational speaker, a seriously twisted life coach and a sadist. “COMMIT.” Go “All IN.” “Full throttle, full SWEAT” never seemed so scary.

As time winds down and the desperation grows, something or someone in this sweatbox trio is going to give. And not just blood, drawn intraveously “just to lighten you up a little bit.”

Turturro is great and Bloom is pretty damned committed, even if he isn’t the most convincing boxer you ever saw. The man was “cut” coming in, and he lost serious weight (over 50 pounds, if you believe the hype) to get an authentically gaunt look.

The suspense rises steadily with Boz’s blood pressure. The boxer’s vital signs? He’s barely able to stay upright.

The compactness of Justin Bull’s script is an asset, and anybody who’s ever tried to drop a couple of pounds to get into an old suit, last year’s shorts or a wedding dress can empathize with this dilemma and its degree of difficulty, even when you take things to the medical and life-threatening extreme.

But the preliminaries — brisk as they are — need to be raced through or skimmed over. The meat of the movie is basically a play, just three guys in a couple of settings, frantically trying to change their lives and life trajectories by losing as much weight as possible in an insanely short period of time.

Perhaps little more workshopping this script was in order, because the three main characters put on their own three act play in the film’s latter half. Everything that delays packing us in that pressure cooker with them undercuts the most novel version of “a boxing picture” that most of us have ever seen.

Rating: R, violence, drug abuse, nudity, “sexual content” and profanity

Cast: Orlando Bloom, John Turturro,
Caitríona Balfe, Mohammed Mansaray, Clare Dunne, Ed Kear and Gary Beadle.

Credits: Dirrected by Sean Ellis, scripted by Justin Bull. An Altitude/Republic Pictures release.

Running time: 1:36

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Robert Redford: 1936-2025

Posted on September 16, 2025 by Roger Moore

Hard as it might be to believe, there is such a thing as being too “classically handsome” or just entirely too good looking when you’re a movie star.

Don’t ask Warren Beatty, whose ambition and range were obvious and whose connection with the zeitgeist could be uncanny.

But ask Cary Grant. Or Paul Newman. Or Brad Pitt. Or Robert Redford, who passed away today at 89.

A chronically underrated icon, THE leading man of his era — just after Newman and McQueen and Poitier, just before Denzel and Pitt — it took a lot of doing to get critics to take Redford seriously and for The Academy to not punish him for being the complete package — too damned tanned, rugged and WASPy beautiful for his own good.

I mean, awarding Beatty was enough, right?

But Redford dazzled in action, in comedies and action comedies, held the center in epics that wouldn’t have passed muster without his presence and made a handful of the most enduring films in American cinema history.

Tick off a list of your own favorites and weigh them against the Oscar winners the year they came out. We’re still watching “The Sting” (an Oscar winner, just not for Redford), “Downhill Racer,” “The Candidate,” “Butch Cassidy and the Sundance Kid,” “Jeremiah Johnson,” “The Electric Horseman” and “All the President’s Men.”

“Three Days of the Condor” holds up, his “The Great Gatsby” is still viewed by kids looking for shortcuts in a book report. And “A Walk in the Woods” amused, his last fun “buddy” picture with Old Man Nick Nolte, who outlives him.

We should be watching “The Hot Rock” –still a hoot — and “All is Lost,” not his final performance, but one of his finest. He still brought that twinkle that could take your breath away in the charming “The Old Man & the Gun.”

Fans embraced the former high school baseball star as “The Natural” and “The Way We Were” was the most celebrated romantic schmaltz of its day. “Out of Africa” to “Sneakers,” “Brubaker,” in his prime — which lasted decades — his movies were events.

He directed with skill and “actor’s director” care on prestige pictures such as “Quiz Show,” making his debut behind the camera with “Ordinary People,” which finally earned him Oscar recognition — behind the camera.

He was the voice of The West in “A River Runs Through It.” He founded The Sundance Film Festival and helped launch the independent cinema movement.

I interviewed him a few times over the years and found him disarming and even amusing, a Hollywood Man in Full, so comfortable in his status and his own skin that he was among the first Big Names to move away from Hollywood to keep his focus, his sanity and his mystique.

Newman was his great role model.

A Santa Monica native who wound up in New York studying acting, and landing roles first on TV, he turned his big breaks (“Inside Daisy Clover,” “This Property is Condemned,” “Barefoot in the Park”) into status.

Redford’s move to Utah pushed his environmentalism into the spotlight, a passion that, like his politics, he wore on his sleeve and was hated by the hateful for it. The few late movies that leaned into those politics — “Truth” and “The Company You Keep” — were interesting failures.

Recent generations have rediscovered him, zeroing in on his turn as “Jeremiah Johnson” as if they discovering an overlooked Grand Master, which he kind of was.

Redford laughed and laughed about lying his way into the role of a solo sailor who faces disaster in “All is Lost.” At 77, he didn’t really have an idea of what he was getting himself into. Director J.C. Chandor had the last laugh on that “test,” which is riveting and “real” thanks to Redford’s commitment.

But another awards’ season passed without the acting recognition that should have come his way, yet never really did. He’ll make a helluva “In Memoriam,” thought. At least he outlived the generation of critics who never took him seriously.

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Movie Review: “Samurai Fury” Triggers an Insurrection in Old Nippon

Posted on September 16, 2025 by Roger Moore

A badass ronin swaggers and slices his way through Medieval Kyoto in “Samurai Fury,” an action epic about a tax revolt in a time of plague and famine.

Ryosuke Kakine’s historical novel — “Muromachi Outsiders” — was inspired by real events in 15th century Japan. Director Yû Irie (“8000 Miles,” “Ninja Girl”) leans into the tropes and archetypes that earned samurai films the nickname “Japanese Westerns” for this action-packed, Spaghetti-Western-scored Soba Noodle swashbuckler.

In the Kyoto of 1461 (Muromachi Era), plague and famine have killed tens of thousands. But the ruling shogunate, which “did nothing” to lessen the suffering or save lives, has allowed its ruling class, lords and monks, to maintain their lifestyle at the expense of impoverished peasants, who are in debt — taxed and tolled at every turn.

The regime’s fearsome head of security, Honekawa Doken (an imposing Shin’ichi Tsutsumi), is charged with keeping the peace even as the prissy, posh shogun forces debt slaves to haul a vast stone to decorate the center of his palace’s lake, a stone he then decides he doesn’t like after he sees it installed.

“Flowers would be prettier, I think,” he decides, in Japanese with English subtitles.

There’s talk of a revolt or insurrection among the peasants and ronin, with one form of uprising being more serious than the other. So Doken meets up with a ronin (unemployed “vagabond” samurai) he knows, Hasuda Hyoe (Yo Oizumi,) and commissions him to take the pulse of the public and help fend off the threat.

The canny, charismatic Hyoe not only drives a hard bargain, he cracks that his old friend Doken has become “the shogun’s pooch.” He agrees to do the job if the Doken will let him take this “brat” Saizo (former pop idol Kento Nagao) who resisted the “bloodsucking monks” who bound and gagged him over a debt with plans to have Doken execute him.

“Frog,” the roaming samurai nicknames his pupil. The kid fended off monks and their henchmen for a while with just his staff, is a lad with “spirit but no skills.” Hyoe gives him a few life lessons about “money,” and giving the monks what they deserve, drops Saizo off for a year’s training with his weapon of choice with the Old Master (Akira Emoto).

Because whatever he’s been paid to do by Doken, Hyoe is playing the long game. He paid the Old Master from money he robbed from a monk-run tolling station that he trashed and robbed after slashing up a score of monk minions. Hyoe cautions peasants and couriers (teamsters without teams, mostly) that the time isn’t right for a revolt. But it will be in a year, once “Frog” has finished his training.

The training montage features some clever twists in prepping a kid for combat with a blunt-pointed staff. His final test? A pay-to-play tournament in which he faces all comers in a “Kill Saizo, Win a Prize” bout.

The supporting insurrectionists include the Old Master’s mute lady archer and a small crew of would-be ronin — Hyoe fanboys — headed by the hilariously hulking Emontaro (Yasushi Ami), who speaks loudly and carries a huge club.

There’s an experienced courtesan (Wakana Matsumoto) in a bit of a love triangle with Doken and Hyoe, right up to the moment she bats her eyes at the suddenly buff Saizo. And the most callous and bloodthirsty of the shogun’s supplicants, Lord Nawa (Kazuki Kitamura) must be dealt with if there’s any justice to be had in this world.

Intrigues will make us wonder who is on whose side, a village will be slaughtered and the final assault on Kyoto and its house of money changers where debt records are kept is epic and set after dark, a furious, witty action set piece by torch light, where torches are the weapon of choice against the paper-pushing, record-keeping oppressers.

Yes, the acting is loud and often broad. There’s always a lot of shouting in samurai tales, and our young J-pop star bellows with the best of them. The leads are well-matched even if the story gets cluttered with supporting players who keep them apart, more or less, until the final act.

The fights are off-the-charts spectacular with Irie’s camera swooping in and around the various maelstroms of violence — trailing the thundering horde led by Emontaro and his club, staring down the shaft of Saizo’s staff as it pokes, fends-off, bludgeons or vaults over foes, and catching the clash of Tachi swords among the warriors, with peasants hurling rocks, stabbing and clubbing their way towards an elusive debt-free future.

It’s not “Lawrence of Arabia” or “Seven Samurai” or “Yojimbo.” But “Samurai Fury” is cleverly and patiently plotted, with good acting and very good fighting. And when the big battle finally begins (86 minutes in) it goes on and on until it proves its been worth the wait.

Rating: unrated, lots and lots of bloody violence

Cast:Yo Oizumi, Shin’ichi Tsutsumi, Kento Nagao, Wakana Matsumoto, Hannya, Yasushi Ami, Kazuki Kitamura and Akira Emoto

Credits: Scripted and directed by Yû Irie, based on a novel by Ryosuke Kakine. A Well Go USA release.

Running time: 2:15

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Movie Review: Coming Out in the ’90s is no Easy Thing for “Plaintclothes” Cop

Posted on September 16, 2025 by Roger Moore

“Plainclothes” is a simple but engaging “coming out” tale of the sort we’ve been seeing for decades now. But the performances are understated and spot-on. And writer-director Camen Emmi’s feature debut reels us in through the simple trick of not just telling this timeworn story, but making us come to the movie.

We have to unravel the when and where this version of coming out takes place, who the protagonist is and why this umpteenth version of such a story is worth our time. Music, clothes, beepers, payphones and a mall reveal it’s a ’90s period piece.

We’re forced to decipher the inconsistent timeline, and what’s changed for that now mustached and stubbled protagonist since the scenes where Lucas (Tom Blyth) was a cleanshaven plainclothes cop in suburban New York. In the past, he was dealing with peeper pages from his mother which might concern his ill father. In the present, Dad’s dead, mom (Maria Dizza, quite good) is chainsmoking and her obnoxious brother, his Uncle Paulie (Gabe Fazio, a “type” but spot-on), is showing off his homophobia to the entire family in the way he treats “pansy” Paulie Jr.

Lucas is a young cop who’s heart isn’t really in his work as “bait” at the mall where taxpayer dollars and police crimefighting hours are spent entrapping gay men who’d like a men’s room quickie while shopping.

Their indiscretion will cost them an indecent exposure plea as “exposure” is hung over their heads, since the aged old school lieutenant (John Bedford Lloyd) has a real Jones for hounding “perverts.” He lays out his misguided, outdated reasons as he plays old stakeout film footage for a new recruit to this squad. He’s passed this passion on to his sergeant (Christian Cooke) running the show. But Lucas doesn’t like the work.

Those exchanged moments of eye contact setting the trap have him seriously questioning his sexuality. That’s led to him breaking up with his longtime girlfriend (Amy Forsyth). And they’re part of the reason this one target (Russell Tovey), a few years older, eludes the handcuffs after they’ve met in a stall in that men’s room.

“Have you done this before?”

Emmi’s film can’t help but play as dated and a tad overfamiliar. And as a history lesson about “the way things used to be” it can feel almost quaint. Setting the film after the ravages of AIDS adds to that.

But Blyth and Tovey, as Lucas and a very cautious, more experienced Andrew, subtly remind us that those personal stakes could not have been higher in a closeted era as careers, family and futures are gambled by men grappling with who they really are and how low they must feel, seeking intimacy in a public toilet.

Lucas is new to all this, and infatuated. Andrew might be a “cruising” cliche, but he has his reasons and a compassionate side.

And as this story finds its way past the predictable towards a reckoning that’s both surprising and satisfying, the viewer is invited to ponder the phrase “We’re not going back” anew as we’re reminded of just how far we’ve come.

Rating: R, violence, sex, nudity, profanity

Cast: Tom Blyth, Russell Tovey, Maria Dizza, Amy Forsyth, Christian Cooke, and Gabe Fazio

Credits: Scripted and directed by Carmen Emmi. A Magnolia release.

Running time: 1:35

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Documentary Preview — “Strange Journey: The Story of Rocky Horror”

Posted on September 15, 2025 by Roger Moore

Hell’s bells, has it really been FIFTY YEARS?

This doc about the loopy, toe-tapping, trans-happy, Meat Loaf rocking musical starring Tim Curry, Susan Sarandon, Barry Bostwick, Bond villain Charles Gray (“It’s just a JUMP to the left…”) and its creator, Richard O’Brien, that became the Greatest Cult Film/Best Midnight Movie/World Champion Audience Participation thrill show of them all.

Sarandon, O’Brien and Curry are here.

This looks sentimental, cool, timely and IMPORTANT.

Sept. 26.

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Movie Preview: From Asbury Park to “Nebraska” — Jeremy Allen White is The Boss — “Springsteen: Deliver Me from Nowhere”

Posted on September 15, 2025 by Roger Moore

Pretty fair likeness, I’d say.

The star of “The Bear” channels 30something Springsteen as he takes on the existential and creative crisis that turned into “Nebraska.”

Scott Cooper of “Crazy Heart” and “Hostiles” directs. Decent buzz for this Oct. 24 release. I get a reverential vibe from this second trailer.

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Movie Review: Pot’s a Crime Unequally Punished in “Grassland”

Posted on September 15, 2025 by Roger Moore

“Grassland” is an intimate social justice drama about the bottom level of the marijuana business, a tale told in the last of its years as a banned and not merely “controlled substance.”

A single mom struggles to make ends meet by growing, prepping and selling weed out of her rental duplex’s basement in New Jersey. An aged cop moves into the other half of the duplex. You can guess the rest.

Mia Maestro (“The Motorcycle Diaries,” TV’s “Nashville,” “The Strain”) is Sofia, an Argentine immigrant estranged from her mother (Rachel Ticotin) and on her own with young son Leo (Ravi Cabot-Conyers). She dotes on him and reads to “Prince Leonardo” from Homer’s “Odyssey.”

But even at this age, Leo is pretty much a co-conspirator. He knows what mom does and is just now awakening to the problems it could lead to for her, him and her young deliveryman and sometimes baby sitter Brandon (Quincy Isaiah, Magic Johnson on TV’s “Winning Time: The Rise of the Lakers Dynasty”).

Virtually “nobody’s buying,” in this economy. She’s had problems with mites in her plants, is behind on her rent and now the duplex owner has rented the other half of it to a grandpa (Jeff Kober of TV’s “China Beach”) and his grandson Tom (Sean Convery).

Great. Leo has a playmate.

But grandad John rolls up to the place in a police cruiser, putting Sofia in a panic. Sofia’s got to hide what she does, from the actual plants to the scent, pretend she doesn’t know Brandon and keep Leo from giving away the game to Tom. She may minimize the new risks to Brandon, who has a record and isn’t stupid, and she might think she’s allaying her little boy’s fears.

“Are we criminals? Are we getting arrested?”

It doesn’t help that John’s bitter, a cop being shown the door and a caregiver thanks to what we figure out must have happened to his daughter, Tom’s mother.

Co-writers/directors William Bermudez and Sam Friedman focus not on the nature of the crime, as it then was, but on the circumstances of those wrapped up in it. It’s 2008 and the country’s in the throes of the Bush II recession.

Montclair, New Jersey isn’t Newark. This is the lowest stakes battleground in the failed, more-cultural-than-criminal “War on Drugs.”

And this isn’t TV’s “Weeds,” a sometimes jolly, sometimes dangerous lark for a housewife to find a “career” setting up and running a big growhouse-to-street distribution system. The problems, to a one, are the The System itself — racial profiling, over-empowered police, punishments absurdly out of proportion to the crime.

The risks aren’t worth the rewards, and only the most desperate would take those odds. Brandon is smart enough to know that getting out is Job One. But few will hire someone with a criminal record. Sofia thinks she knows the risks and “can hande” this. But smart people don’t get into this “business.”

“Grasslands” maybe be pretty much wholly predictable. But the performances have heart, compassion and a testy edge when that’s called for.

And this simplest of period piece parables lays bare the inequity of “justice” as pot legalization was just beginning and the “gateway drug” theory was fading into the mists of myth.

Rating: unrated, violence, profanity, drug content

Cast: Mia Maestro, Jeff Kober, Quincy Isaiah, Ravi Cabot-Conyers, Sean Convery and Rachel Ticotin

Credits: Scripted and directed by William Bermudez and Sam Friedman. A Gravitas Ventures release on Amazon Prime.

Running time: 1:29

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Movie Preview: Crispin Glover checks in at Hotel Hell — “Mr. K”

Posted on September 14, 2025 by Roger Moore

Has a “Delicatessen” vibe, does it not?

And Glover has completed the transition to dead ringer for his Bond villain/”Barney Miller” recurring dad.

This makes a North American release appearance  Oct. 8.

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Documentary Review: Celebrating the Artistry of a “Massacre” set in “Texas” — “Chain Reactions”

Posted on September 14, 2025 by Roger Moore

Film fan lore has long implied that Steven Spielberg, the producer of the horror blockbuster “Poltergeist,” was really its director or at least co-director.

The 1982 film has Spielbergian touches — compositions, classical editing, the striking lighting and the inclusion of and affecting performances by children. He was on a roll at the time and could seemingly do no wrong and was given much of the credit for the film’s success.

But all of that had the effect of diminishing the artist actually behind the camera, the long underrated horror icon Tobe Hooper. He made many more movies, but his reputation suffered and his career never had the kind of trajectory a smash hit/cultural touchstone thriller should have served up.

The college professor, whose worldview and art were informed by witnessing the infamous mass shooting by sniper Charles Whitman at the University of Texas in 1966, widely regarded as one of the most influential horror filmmakers ever, more than gets his due in the new documentary “Chain Reactions.”

The title may be a glib pun on the movie Hooper made infamous, “The Texas Chain Saw Massacre.” And its first interview is with a standup comic, Patton Oswalt, who long did a bit arguing that “A movie title should let you see a mini movie in your head,” tell you everything you need to know in four or five words.

“Best. Title. EVER? ‘Texas CHAIN SAW Massacre!”

But this film, from the director of “Leap of Faith: William Friedkin on ‘The Exorcist,'” is a deep, incisive, celebratory and cerebral dive into the “art” of Hooper’s most imitated work.

Stephen King, who worked with Hooper on a couple of projects, practically sings his praise about the movie’s notorious cheapness, its “washed-out ’70s” visuals, with even the grainier and grainier prints (it was shot on 16mm and blown up to 35mm initially) and worn VHS tape viewings patina adding to its impact.

“It looks f—–g REAL!”

Karyn Kusama, director of “Girlfight,” “The Invitation” and episodes of “Halt and Catch Fire” and “Yellowjackets,” unwinds the politics, cultural warnings and “the saddest, scariest depiction of (broken) masculinity ever seen on film.”

With his film of dim-witted, violent and obsolete blue collar (and rural) Americans preying and eating young people (“hippies”) who fall into their clutches, “the young artist (Hooper) was looking into the future of America.”

Japanese horror icon Takashi Miike (“Ichi the Killer,” “One Missed Call”) marvels at how his fate was sealed the day he missed a showing of Chaplin’s classic “City Lights” and dropped in on a cinema showing “Chain Saw Massacre” instead, a movie that caused a revolution in Japanese horror cinema, setting the table for “J-horror.”

Miike and King embrace the “lack of morality” of Hooper’s creation, the extremes it goes to. Kusama talks about how unpleasant it is to sit through and how much more unpleasant it can be to watch again.

All mention how “the story makes no sense,” the “acting” is so “amateur” as to make the viewer believe serial killers “have gotten their hands on a film camera” and are documenting their work.

And Australian critic Alexandra Heller-Nicholas notes “Chain Saw Massacre’s” influence on generations of Australian cinema, largely thanks to the fact that it was banned for years. Handing down VHS copies of a movie with “beautiful” flashes of nature and vivid colors in aging, yellowing hues made Australian movies imitating its “Outback yellow” look.

Scores of movies (“Nosferatu,” etc.) that predated “Chain Saw” or were influenced by it (“The Evil Dead,” “Midsommar,” “The Blair Witch Project,” of course) and are name-dropped and sampled. Great art works by Bacon and Bosch that Hooper either mimicked or “accidentally” paid visual homage to are compared to scenes and shots and sequences.

But Patton Oswalt is here to balance the critical parsing as the ultimate fanboy, geeking out over sequences, characters, messages and obscure other titles that connect to this brutal, unblinking and so-ugly-it’s-a-thing-of-beauty classic.

It’s not enough to make one want to go back to “Chain Saw.” Kusama got that right. But if you want an Ur Text for modern movie horror, from “Tales from the Crypt” to “torture porn,” there it is. And if you want to understand the genre, it remains the most essential viewing of any modern horror tale.

Rating: unrated, graphic, gory violence and nudity

Cast: Stephen King, Karyn Kusama, Takashi Miike, Patton Oswalt and Alexandra Heller-Nicholas

Credits: Scripted and directed by Alexandre O. Philippe. A Dark Sky release.

Running time: 1:44

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Movie Preview: Jessie Buckley and Paul Mescal tell the tale of “Hamnet,” Shakespeare’s son

Posted on September 13, 2025 by Roger Moore

The Immortal Bard’s son Hamnet died at 11. His twin, Judith, lived to the ripe old age of 77.

Maggie O’Farrell’s novel about the bereaved parents has been adapted by Oscar winner Chloe Zao (“Nomadland”) with Buckley and Mescal as Agnes and William Shakespeare, and Emily Watson and Joe Alwyn as William’s parents.

This comes out Thanksgiving.

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